Пікірлер
@gisl2159 7 күн бұрын
oh, yes, paint dries darker 😮😮😮
@stellahnjoya2806 15 күн бұрын
Julie, you are the best color educator ever! Thankyou always ❤️
@mariemeyer 16 күн бұрын
What an excellent presentation!
@academiabrasileiradevisagismo 19 күн бұрын
Fantastico!
@colourmekateaus 20 күн бұрын
This was SO fascinating. I learned so much. Thank you so much, Julie.
@chrisstyles8537 20 күн бұрын
Fantastic insight in hairdressing colour! Such an exacting, complex science!
@marwan1766 2 ай бұрын
it is far a way and hard to see
@mirineve894 3 ай бұрын
Thank you so much for sharing this on KZbin, as the live version was complicated with my timezone. And also such a treat to be able to watch it back several times!
@rafograph 4 ай бұрын
Excellent presentation. Thank you
@reybarreto7979 5 ай бұрын
There is a lot to digest here. I am not into digital painting and would never consider switching over to it from oil, BUT Steve’s idea of using digital painting as a sketchbook to experiment with intrigues me. Never thought of using my Ipad as a sketchbook and yet here is a way to practice painting anywhere I go without having to carry oil paint, brushes, canvas, easel, etc. A convenient and very portable way of practicing painting and drawing skills - I should have done this a long time ago.
@watercolornewbies 5 ай бұрын
This was a fabulously informative lecture. Thanks for organising and posting it.
@williambo5989 7 ай бұрын
wished he did color demo
@williambo5989 7 ай бұрын
compressed rainbow is steve’s invention
@williambo5989 7 ай бұрын
he made colors more staurated on purpose because color printing back then wasnt as advanced
@MonikaZagrobelnaArt 7 ай бұрын
This is amazing, thank you so much!
@MaxisArtes 8 ай бұрын
This flipped a switch! in my head. This is incredible resource. Thank you so much. I will watch this atleast 10 times more🙏🙏🙏🙏🙏
@williambo5989 7 ай бұрын
i will watch it 10 times too thanks for this comment
@YassineCherifi 8 ай бұрын
amazing session learned a lot thak you so much and hope to see more from you.
@vancantdraw 8 ай бұрын
Incredibly incredibly well explained regarding color economics!! I loveed every part of it!! Thank youu Steve!!
@robbtb 8 ай бұрын
Outstanding topic! Thanks so much for bringing these interesting perspectives via these webinars.
@ratna_mart 11 ай бұрын
Nice one
@MdMojiburRahman-gf1zr Жыл бұрын
Nice
@annmayer8251 Жыл бұрын
Fab. Clears up confusions I have had with my Itten books!
@omnesilere Жыл бұрын
"could you maximize your screen presentation"... *grumbles* "sure"... *starts using an even smaller window*
@ralphelwell1655 Жыл бұрын
Tristan thank you, brilliant explanation of the Reilly pallet. Tedious for some but essential and effective route to better prepared painting.
@awatercolourist Жыл бұрын
Very interesting video! Thank you for sharing it.
@awatercolourist Жыл бұрын
What is the effect of clove oil on oil colours on the long run? Does clove oil also affect other mediums such watercolours and acrylics?
@coloursocietyofaustraliainc Жыл бұрын
RECOMMENDED LINKS Pigment Colour Index justpaint.org/sorry-wrong-umber-part-i/ (Sarah Sands) www.jacksonsart.com/blog/2021/09/06/everything-you-need-to-know-about-the-pigment-colour-index/ (Evie Hatch) www.artiscreation.com/ (David Myers) Lightfastness www.naturalpigments.com/artist-materials/pigments-artists-paint-lightfast (George O'Hanlon) www.iscc-archive.org/Munsell2018_Presentations/Sands-Presentation-NotSoFast.pdf (Sarah Sands) Coulour attributes and spaces including Munsell and CIE L*a*b* www.huevaluechroma.com/011.php (David Briggs) sites.google.com/site/djcbriggs/1-basic-colour-attributes (David Briggs) Basic paths of paint mixtures in colour space www.huevaluechroma.com/063.php (David Briggs) "Frank J. Reilly and the Controlled Palette" with Tristan Elwell (forerunner of the basic colour matching procedure demonstrated by Jean) and "Controlling Colour: Historical Background" with David Briggs (background of Munsell system) kzbin.info/aero/PLS-wuqMtzc7ts_HBC8aQws79rYsCIKbD0 Creating Colour 1: Paint Making, with Ulysses Jackson (Golden Artist Colors Inc., USA) kzbin.info/www/bejne/i4fHgXSZr7yKd6s
@d_dog9939 Жыл бұрын
and i find another interesting mixing example can only be solved with K-M /// Cadmium Red + PB15, dark-red masstone but dull-blue tint
@d_dog9939 Жыл бұрын
according to some article from JustPaint /// Only linseed oil make great difference, all other oil(walnut/poppy/safflower) may loose weight overtime and won't get a really strong film.
@d_dog9939 Жыл бұрын
JustPaint has some article about the PW4 and "dark yellowing" in oil paint
@d_dog9939 Жыл бұрын
Awesome, my confusion for the white-black blue-shift problem get solved.
@querenstewart9944 Жыл бұрын
Brilliant
@grazynam1208 Жыл бұрын
Thank you!
@omnesilere Жыл бұрын
starts 8:39
@mrdog66 Жыл бұрын
It seems that Frank Reilly took DuMond's palette and simplified it for his needs, which is what was stated. My observation or take away is that Reilly seemed to make take DuMond's concepts on color, then filtered them through Munsell, and developed more of a method more than a concept. Is this a correct way of viewing this? I studied with Frank Mason, who modified DuMond's palette, he added a string of violets, and like Reilly had a 9 value grayscale which are based on a nine values for cadmium yellows and reds plus alizarin crimson. It seems so close to Frank Reilly in a lot of ways. The Maynard palette seems closer than Frank Mason's to Reilly's. It's fascinating to see how all of these ideas about controlled palettes came out of DuMond's class at the ASL in New York. Cad yellow lemon through deep, cad orange, cad red light through deep and alizarin crimson. The middle value of the palette was based on the cad orange value. My understanding of the use of the cadmiums was based on the clean value range that they made. The full Mason landscape palette was made up with strings of blue, violet, and greens, mixed in a similar way that Reilly had for his landscape palette, all based on the gray values. The difference was that DuMond, Mason and Arthur Maynard (a former DuMond student) viewed the palette as a concept and not really a method. Mason added high keyed strings of Phthalo blue and green as well as cad red light and alizarin crimson based on the values 9, 8, and 7. It was a large palette that used values and the idea of atmospheric perspective/color together. You could see values through the movement from blue to violet to green into the yellows as the landscape moved forward. The blue, violet and grays were a way to help control the light effect and how things receded and came forward.
@bahumdinger8361 Жыл бұрын
Enjoy your work and excellent presentation Tristan
@dv9476 Жыл бұрын
Thank you, appreciate much. Learnt a lot from this video.
@lisgomezhernandez6450 Жыл бұрын
THanks for sharing this information <3
@kyliemackayfineart Жыл бұрын
Another fabulous presentation! Thank you David, Maria and Tristan for your generosity in sharing the knowledge you have.
@tristan.elwell Жыл бұрын
There were some questions we didn’t get a chance to address during the live stream, so I’ll post them here.
@tristan.elwell Жыл бұрын
Rachael asked: You mentioned that Reilly's palette layout doesn't get used in gouache much and that it doesn't suit gouache as much, why is that? There are two main issues, the first is that extensive premixing isn’t practical with water media like gouache. The second is that gouache has a pronounced color shift from wet to dry, so judging color mixing is much more difficult.
@tristan.elwell Жыл бұрын
Kenneth Massey asked: Was Reilly’s system used or adapted to develop 3d rendering algorithms and digital photography empirical correspondence between visual and digitally captured color? I don’t believe it was a direct influence. The Munsell System doesn’t actually translate very well to digital space, because it is specially concerned with surface color, and all digital color is RGB light. So other color models work much more naturally. I found a few workarounds to translate my traditional painting workflow when I first began working digitally, but I use them less and less as I’ve gotten more comfortable with digital tools.
@tristan.elwell Жыл бұрын
Francine asked: What are the main differences between using opposites and using Munsell greys. Are the outcomes very dissimilar or do they end up with similar outcomes. You CAN get exactly similar outcomes, IF you know what you’re doing. Using complements will require more adjustment of hue and value, though. Reducing chroma with grays leads to far less hue and value shift, so it’s a more predictable, controllable method. Also, the visual complement of a color can be very different from the color you would have to use to neutralize it in paint, so determining the effect of colored light is harder. Some people prefer the unpredictable results you get mixing complements, and see those “lively grays” as a feature rather than a bug, but I think they’ve just gotten used to working a particular way and are making a virtue of necessity.
@javiersummers5730 2 жыл бұрын
😣 𝓅𝓇o𝓂o𝓈𝓂
@d_dog9939 2 жыл бұрын
wow,i can watch this video again😃
@d_dog9939 2 жыл бұрын
T_T,other videos are deleted and i can't watch them again
@coloursocietyofaustraliainc 2 жыл бұрын
Sorry! We made those videos available free of charge for a few days for people who couldn't attend our event live, and this one was left up as a free sample. All of the videos along with many others from previous events are still available for unlimited viewing by anyone who supports us by joining our Society at coloursociety.org.au/membership. Otherwise you can stay informed of our free events in future by following us on Facebook or Instagram.